Catalan and Valencian Theatre Renewal Under Franco

Theatre Renewal Period (Post-War to 1970s)

With the introduction of the **Franco regime**, the use of Valencian or Catalan in the theater was prohibited, disconnecting it from current American and European theatrical innovators.

Until **1946**, censorship prohibited unauthorized representations, and Spanish translations of foreign works were also banned.

Renewal in Valencia (1946)

In Valencia, in **1946**, authors such as Faus Casajuana Hernández and Rafael Martí i Treballadors proposed in the press that the Valencian scene should adopt new scenic approaches, inspired by modern arguments that address actual conflicts in society.

In the area of **Valencia**, renewal occurred because theatrical activists found shelter in agencies that favored updating the Valencian scene. In these environments, a new generation of playwrights appeared, including:

• Domínguez Martín and Barberà (Is Not There Were Ten?)
• Francesc P. López
• Gil Albors (Shack 62)

Catalan Theatre Renewal (1955)

In **Catalonia in 1955**, the Drama Association of Barcelona was founded. This theater company programmed classics, released translations, and staged works by artists such as:

• Joan Oliver (Pere Quart): Wrote comedies criticizing the bourgeoisie.
• Brossa: The best representative of the avant-garde theater, favoring surreal forms.
• Manuel Pedrolo: Focused on the theme of freedom, aligning with the theater of the absurd (Ionesco or Beckett).

Key Aspects of Manuel de Pedrolo's Plays

Stages and Themes

Pedrolo's theater is often divided into ***three stages***, although only the **central stage** is properly developed. During this period, Manuel de Pedrolo rigorously examines and reflects on fundamental points of human existence, posing disturbing questions about the absurd.

Concerned about the human condition, Pedrolo was committed to his country and specific subjects, inheriting existentialism and utilizing forms of absurdity.

Characters and Setting

Pedrolo's **characters** inhabit a closed world, separated from outer space. These imprisoned characters struggle to demolish walls, but ultimately become accustomed to the space that awakens within them. **Scenically**, these conflicts support closed, claustrophobic, and distressing situations.

Pessimism and Reality

Pedrolo's theater is **pessimistic**, especially when addressing collective problems and rigorously depicting the reality the characters inhabit. The characters retreat into their inner world, trying to explain things they do not understand. This does not mean they lack interest in the outside world; rather, they live as prisoners of others. They are often preoccupied with the present, trying to clarify their origins, even if they only possess vague, confused memories of the past.